In the previous blog post, I have discussed with you the problem of separation along ethnic lines that splits the local film industry into parts. Also, I suggested the local filmmakers to demonstrate multicultural nationalism in the local context if they would like to attract audience from multiple races. However, there is something crucial that you should pay attention to. It is pretty well done to express multicultural nationalism in your movies, but it is certainly a no-no to overuse this multicultural attraction. Audience will feel bored when they are overwhelmed by the same theme over and over again.
Overlocalisation is a NO-NO in movie production
As you may notice, local movie makers always emphasise or even exaggerate the multicultural element of our society in their films. They are so keen in showing the code-switching phenomenon in their films. The distinguishing feature of “rojak language” makes the local movies standing out from the others. However, does this overused strategy really work to attract the local audience?
For instance, in order to show the local style of communication, the Malaysian Mandarin particles such as meh, leh, lah are emphasized in some local films. I am not saying that filmmakers should not insert this element in their movies. From my personal perspective, they should portray the cultural element in a natural way. However, there are so many local films over-emphasizing the use of rojak language. It seems like they want to yell at everybody and say, “Hey! See, this movie is buatan Malaysia. Hundred percent made in Malaysia!” Nonetheless, do all Malaysians speak like that? Does it really reflect the lives of Malaysians?
So, how should the films being improved?
We, Malaysians, with our long history of colonization, have developed a diversity of culture among different races. The rojak language itself cannot represent the complexity of our rich culture. After the code-switching phenomenon being overused for years, it is now the time filmmakers should shift their focus to other valuable cultural symbolisms in our country. I would not like our rojak language being the only distinguishing feature of Malaysians. Hopefully our filmmakers could introduce more and more characteristics about our unique culture to local and foreign audiences.
Kuan Chee Wah, a local Chinese films researcher, raised an issue in his article: Due to the burden to create local awareness, some filmmakers filter out the elements they believe that are not local. This will dilute and simplify the complexity and multiplicity of Malaysian socioculture. They have forgotten that the essence of Malaysian culture, that is the multiplicity of mixed culture. Jacky Yeap, a local filmmaker and the founder of Wu Ben Movie Magazine, commented that local productions need to create new concepts in order to breakthrough the typical conceptual framework. Kuan also encouraged filmmakers to shift their focus from localisation to the creativity and storytelling skills.
In conclusion, the demonstration of local culture in movies can be a double-edged sword. If you use it wisely, it can bring your artwork to a higher level with the appreciation of multicultural nationalism. In contrast, it will make your story boring and dull if you use it obsessively. So, plan properly before you create the story plot. Always remember what is the core message you want to deliver. Do not simply throw in a lot of local cultural elements and expect the audience will be touched by your “spirit of nationalism”.
What do you think about this article? Please tell me your opinions in the comment board below. In the next article, I will share with you about the third issue that hinders the growth of local movie industry. Check it out!
References
Kuan, C. W. (2018, October). Food in movies and Malaysian Chinese’s recognition. Wu
Ben, 1, 73-75.
Yeap, J. (2019, August). The local director Mansor Puteh and the movie “SEMAN”. Wu Ben, 2, 8-11.
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